Theatre of Sound: «A Space Amorphous In Time», premiere

A Space Amorphous in Time interweaves live storytelling with experimental polyrhythmic soundscapes. Analogue recording devices become instruments in themselves, simultaneously recording live vocal narrations as well as exploring their own inherent noise qualities. These live textual compositions are then fed through a modular system, generating unique entangled distortions and dronescapes. In this way Sarigöl and Schonfeldt propose a new way of mapping voices; enabled through sonic layers entwining analogue electronic sounds and tape machines to create a dynamic aural-sonic performance.

Performance 4 Evenings: «No Title No Work», premiere

What happens when people have to give up control and simply give in to instructions and orders? Christian Falsnaes addresses a highly current topic as he wants to make visible the mechanisms of following authoritarian orders that organize society but that we normally don’t recognize. His works are based upon the interaction between audience and artist and deal with rituals, social dynamics and group behaviour in highly codified social fields like the art world. Falsnaes gives instructions to underscore the significance of individual will, turning the reactions of his audiences into material for their own self-reflection. Together with the public he mirrors social situations, allowing fundamental social structures to become visible.

For Cabaret Voltaire, he conceives an evening in collaboration with curator Søren Berner in which nothing will be filmed, nothing will be produced and no result is to be expected. No Title No Work. Instead, the focus will be on individual and collective experience. The evening will evolve through experimentation and discussion involving everyone attending. Leave your inhibitions and your phones at the door. What happens in Cabaret Voltaire stays in Cabaret Voltaire.

Word Up!: «Jacques Rancière Parle»

The lecture by and conversation with Jacques Rancière is a new episode in the series Great Thinkers that started in December 2014 as a pilot at Cabaret Voltaire. Great Thinkers still follows its main idea: the search and yearn for great thinkers as inspirational and influential thinkers. The guests invited to the series Great Thinkers are anticipating answers to the questions that one might ask oneself today as regards of the right choices – if there is such a thing as right − in and of life, politics, love, art and belief.

And one of the answers to the question who the Great Thinkers of our times are is: Jacques Rancière.

He is certainly one of the most influential and prominent philosophers on political and aesthetic theories, for which he has become a point of reference in the art field, in aesthetic discourses. No wonder: For Jacques Rancière art has an emancipatory potential. But this results from a radical indifference and autonomy of art. Within the aesthetical regime the becoming heteronomous of art is something that can only be controlled by art.

Great Thinkers has a simple set-up: a long table, wine and cheese, and a small stage. A philosopher talks about a topic, discusses a question that he/she can choose. What concerns him/her most? What does he/she consider to be his/her greatest intellectual achievement? How does he/she develop a thought, an argument and a theory? After his/her lecture we have the possibility to talk and discuss with him/her on his/her thesis and thoughts.

Theatre of Sound: «Speculative Reggaeton», premier

In occasion of their performance in Cabaret Voltaire Juice & Rispetta will create and publish «Speculative Reggaeton». The trio ventures – as they do in most of their work – into unknown territories with the utmost pleasant anticipation. Juice & Rispetta alternatively describe themselves as «Official Fanclub Of The Whatever». Claudio Vogt describes: «Their work narrates the disorientation of a young generation of artists who are sceptical about strategies of past eras and the simultaneous self-esteem, just doing what has to be done.»

Performance 4 Evenings: untitled, premiere

«In my artistic work, I have a special interest in hyperrealism and everyday objects, performative mechanisms and interaction with the viewer. The work is expressed in aesthetic meetings and time-based experiences. The content of my production is about a negotiation and exchange between views and work and how it reacts in the given context. My works ask questions about who we are, where we are and who arranges the information that surrounds us.»The work of time-based media has focused on the viewerʼs position and the space the work is part of, whether it’ll be the art room or the Internet. The way to influence the user in Kristoffer Akselbo’s web projects inspired scripted performance works where the performer in an exhibition room can respond to the viewer’s behaviour. The works’ scripts are open and change with their surroundings in the situation. It is a construction of these situations, a temporary unfolding, creating the place and the narrative. The form of adaptive interaction can seem intimidating on the viewer but also create a tension in the meeting between work, viewer and place.

Theatre of Sound: «I am not a Joke», 2017

The Kill Joys (Olivia Hyunsin Kim, Magda Drozd and Co.) examine feminist concerns, which they express through concert performances. In a DIY style and a dilettantish attitude, they scream about what is infuriating them. Through self-written lyrics they sing about current feminist and political topics and aptly give themselves a voice which is understood by others.

Word Up!: «Weird Séance», premiere

The performance project «Weird Séance» by Daniel Oliver is a series of raucous, deconstructionist, and roughly layered participatory performances about participatory performance. Each performance is haphazardly crowbarred into its site and context − rejigged, added to, undone and perverted.

We are in the future looking back on the traumatic incident that occurred right here, in this space, during Daniel’s show. Returning to the site to partially reconstruct the tragic performance, to discuss blame, and to attempt to make amends with those who survived.

Daniel Oliver revisits a participatory performance in which, due to a calamitous attempt to contact the spirits of the passed, many audience members died.

For his show at Cabaret Voltaire he will develop a new «Weird Séance», which will emerge from a fearless embracing of his dyspraxia.

Thus I Spoke: «Dying On Stage», 2015

Christodoulos Panayiotou’s lecture-performance Dying On Stage is a meditation on the impossible theatrical representation of death. Taking as its starting point Rudolf Nureyev’s 1991 staging of the classical ballet «La Bayadère», which was choreographed whilst Nureyev’s health was critically deteriorating, Dying On Stage explores various literal, metaphorical, and symbolic deaths by examining the vicious relationship between the spectator, the actor and the characters trapped in the action.

Previous presentations include: Stromboli Volcano Extravaganza 2015; Serpentine Galleries, London; Performa 15 and more recently the Onassis Foundation in Athens and the CND (Centre National de la Dance) after the invitation of Jérôme Bel (Lab Bel).

Theatre of Sound: «Teleprompter Paradise», 2017

For his performance in Cabaret Voltaire the composer and sound artist Leo Hofmann examines the area between medial fixation and elusiveness. Bittersweet electronica meets screaming shoegaze, song fragments meet melodramatic movie scores without the movie. His instruments are large and small speakers, self-made controllers and gestural sensors. Through his manic affinity for voices – which are at times highly polished, at times naked and fragile – all the elements meet in a compact world.